Categories and Subject Descriptors A.0 [General Literature]: General - General literary works (e.g., fiction, plays)

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1 Sentiment Analysis as a Tool for Understanding Fiction Matthias Landt University of Illinois at Urbana/Champaign Landt1@illinois.edu ABSTRACT The purpose of this project was to apply sentiment analysis techniques to the text of a work of fiction. The game script was ripped from the English fan-translated version of the demo of the Japanese visual novel Umineko no Naku Koro Ni (translation: When the Seagulls Cry), in such a way that each sentence within the text could be attributed either to the specific character speaking or to the narrator. This text was compared against Bing Liu s Opinion Lexicons a list of words associated with positive sentiment, and a list of words associated with negative sentiment. By linking the processed data set to the opinion lexicons, sentiment analysis was performed in order to attempt to assess four aspects of the work: (1) the overall tone of the text, including how the tone changed as the story progressed; (2) the speaking styles of the individual characters, in regards to their use of sentiment words; (3) the relationships between the characters, based on how sentiment was used in the text when one character directly referenced another character s name; and (4) how sentiment was used to portray the various characters by the narrative perspective in the text. Categories and Subject Descriptors A.0 [General Literature]: General - General literary works (e.g., fiction, plays) General Terms Algorithms, Languages Keywords Fan Translations, Japanese Fiction, Sentiment Analysis, Visual Novels 1. INTRODUCTION Japanese works of fiction have gained quite a following in America and outside of Japan in general. These works are initially published only in Japanese, and while companies exist that translate popular titles into English and other languages, many works from non-established authors/publishers aren t considered marketable or profitable by these companies and thus do not receive official translations. This could be due to the subject material of the work, or the medium, or any number of other reasons. When fans of Japanese fiction still desire to experience a work despite the lack of a translation, a group of people may get together and translate the work into English or another language by themselves. This is what s called a Fan Translation. Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Conference 10, Month 1 2, 2010, City, State, Country. Copyright 2010 ACM /00/0010 $ In the Fall semester of 2013, I embarked on an effort to examine the usage of negations in the text of fan-translated works of fiction originally written in Japanese. The work I chose to study was the first chapter of the visual novel Umineko no Naku Koro Ni, which translates in English to When the Seagulls Cry. I intended to look at patterns of negation usage in both the original Japanese and in English, but I was only able to actually look at the English text due to lacking a Japanese language parser. I looked at the overall usage of negation within the text, as well as the usage of negations by individual characters. In particular, I was interested to see if characters of differing social status used negations differently. To do this, I looked at three indicators of social status (age, gender and family status) and compared the characters' usage of negations between those categories. I found that there was only one social group within any of the three variables that had a statistically significant impact on negation usage: servants of the family used fewer negations than non-servants. The initial reasoning behind this first study was twofold. Firstly, I have a strong appreciation for the fan translation community, and I hoped to be able to integrate that interest into my studies. The other reason that drove this study was that I hoped to find a way to use analytic techniques in new ways. I felt that this sort of analysis of fiction was rare, and the method I devised for obtaining the data set was unique, so I hoped to produce something truly new. While the initial experiment did not produce a huge amount of results, I felt like these driving ideas were still compelling. In order to expand on the ideas from my previous project, I decided to use sentiment analysis as my tool of choice for delving deeper into this data set. The use of negation is one simple method of looking at the writing style of a text sentiment analysis goes at least one layer deeper than that by looking at the idea of positive sentiment versus negative sentiment. Using the same dataset as last semester, I attempted to use sentiment analysis to determine: - The overall sentiment of Umineko no Naku Koro Ni - The speaking styles of the individual characters - The relationships that exist between the characters - How the characters are portrayed by the narrative 2. THE DATA: UMINEKO NO NAKU KORO NI (WHEN THE SEAGULLS CRY) For the purpose of this project, I needed to find a work translated by fan translators from which I could obtain both the original Japanese script/text and the translated English text. Fan translations span many forms of media books, video games, anime, manga, movies and more and for most of these media, the actual raw text in either language is not easily obtainable. Comics are stored as images, and anime and movies use subtitles which are generally also stored (for reasons that I do not completely understand) as images that are layered over the

2 original visuals). Even books tend not to be available in formats in which you could copy and paste the text to make a dataset. While intuitively video games would seem like the toughest medium to get textual data from, in practice they are perhaps the easiest if you know where to look. This is why this project explores a form of media like video games, visual novels. The visual novel originated from and still primarily only exists in Japan. Though formatted like a video game, in execution a visual novel works like a fancy choose-your-own adventure book: the player reads through the text and is able to make decisions that affect the plot, but apart from those few decision points there is little to no gameplay. Some visual novels take things even further and have no interaction with the reader at all (except for the ability of the reader to save and load their progress). The text in the game is accompanied with music, voice acting, background images, and character portraits that display a variety of expressions according to the dialog. There are a small number of game engines used by Japanese producers of visual novels considering their simple nature from a programming perspective, there is very little need for a new engine to be made for a new visual novel when all that makes it different from the previous visual novel is the specific text, sounds, and images. As such, fan translators have been able to make tools that can be used to extract the text, images and sound files from visual novels that use common engines. For the purposes of this project, I looked at visual novels that use NScripter. This popular engine stores the full script of the visual novel in a file called Nscript.dat in any game that uses that engine. The program NSDEC 1 is able to decrypt an Nscript.dat into a text file containing the unprocessed text of the entire game which the file came from. For a game made with the NScripter engine, what a fan translation team s process, to describe it simply, is to take the original script, replace the Japanese text with translated English text, make a new Nscript.dat file that uses the English text instead, and replace the old file with the new one. For this project, it seemed like I needed to find a game with a complete fan translation, and use NSDEC both on the original Nscript.dat file and on the replacement file to get the original Japanese text and the English text. The visual novel that I chose to use was Umineko no Naku Koro Ni, which translates to When the Seagulls Cry. From this point on, for simplicity, I ll be referring to the work only as Umineko. This game uses the correct engine, and there is also a freely available demo of the game that includes a very sizable portion of the whole work. The first installment of Umineko is Legend of the Golden Witch, which is available for free in the demo in its entirety. It was originally was released in 2007 by the Japanese group 07th expansion and was translated by the fan translation group The Witch Hunt [2]. The story of Umineko is at its core a murder mystery with elements of the supernatural. Part of what made Umineko such an ideal choice for this project was the interconnectedness of the characters: in the portion of the story studied, the majority of the characters are part of one family, either through blood or marriage. The rest of the characters are either servants of the family or are witches supernatural characters whose roles in the story are still mysterious during this early chapter. 1 NSDEC is available as part of the ONScripter Tools from I used NSDEC to get the Japanese script from the game demo s Nscript.dat file and to get the English translated script from the translation patch s Nscript.dat file. I discovered that The Witch Hunt s translators left the original Japanese text in their file as comments along with the translated English text. As a result, I only actually needed the script file from the translation patch. The English script file is about 2 megabytes in size, meaning that it s about 2 million characters long. The script file contains a lot of material that was not useful; in the end, the file contains not just the text for the game, but also a lot of background code that determines how the game works when it decides to display images and play music, among other things. There were three things that I wanted to extract out of the file when processing the data: 1) The Japanese text of the game, split into sentences 2) The English text of the game, split into sentences 3) Attribution of each sentence to either the character who is speaking or to the narrator The first step I took when preprocessing the data was that I removed the data in the file except the portions containing actual game text. As the file was very large, this was hard to determine on an exact level, but I was able to do this approximately by deleting everything before the first portion of game text appears and everything after the last portion. The bulk of the preprocessing work was done by writing programs in Java that would go through the script file and extract the desired elements. It was at this point that I made the mistake of not reading through the script file thoroughly, as I did not realize that the text in the opening scene of the game was formatted differently from the rest of the game s text; I wrote a program that was able to correctly preprocess the lines in that scene, but not the remainder of the text. As this initial scene is fairly short, this felt like quite a grand waste of time, but the mistake made me go over the script file again in more detail, where I learned several things. I had thought that the text in the script file was formatted like this: ; お酒を嗜まれましたな? } `"...Again.`@` you?"` } ;<Nanjo>...You certainly enjoy your liquor, don't In this case, the first line contains the Japanese text, the second like contains the English text, and the third line contains the name of the character that is speaking. If the line was narrated rather than spoken, this third line would not be present. The first program I wrote was able to go through the script file, find Japanese text (based on the line starting with a semicolon not followed by a < symbol), continue through the file until it found a line of English text, and continue further until it found another line starting with a semicolon at which point said line would be checked for its content. If the line s next character was a < symbol, then the line was attributed to the character whose name came after the symbol. Otherwise, the line contained further Japanese text from the game, meaning that the original line does not have an attributed character and so the program would determine that this line was narrated by the narrator rather than spoken by a specific character. My further forays into the script file found that majority of the text was formatted more like this:

3 ld r,$sha_defa1,24 ; あの / ; 真里亞さま ご存知ですか?@ 私たち使用人たちの間では `"Umm,`/ `...Maria-sama, did you know...?`@` There is a ghost story about Beatrice that has been passed down amongst the servants."`@ There were two important differences between this type of formatting and the type I had assumed in my first program. First and foremost, although this was an example of spoken dialogue, the ;<character name> line in the file that would attribute the dialogue to the speaking character (Shannon, in this case) was not present. While this type of attributing line was sporadically present throughout the file, another type of line was far more omnipresent that I could use to attribute lines to specific characters: the ones formatted like the first line ( ld r,$sha_defa1,24 ) in this second example. From what I could tell, this type of line was used in the code of the game to determine when to display a character s portrait. The three characters in capital letters after the dollar sign indicate the specific character, and the letters after the underscore indicate the specific facial expression. In the game, when a character speaks, this type of line almost always shows up right before. (The only time it doesn t, it seems, is when a scene only contains two characters and they are arguing or yelling about something as the screen can only show two characters at the same time, this is just about the only situation in which a conversation can occur while the character portraits stay exactly the same.) Because I know the characters in Umineko, I was able to figure out that what three-letter sequence in these lines refers to what character in this example, SHA indicates Shannon. The other three-letter sequences are similarly obvious, as there are only a small number of characters in the game and their names are not overly similar. The second difference between this type of formatting and the formatting seen in the first scene is that multiple lines of Japanese text can appear, followed by the same number of corresponding English lines. Before, I had assumed that each Japanese line would be individual and directly followed by its English equivalent. Because of that assumption, the program I first wrote would skip over lines of text in situations where that assumption was wrong. I also found some lines in the text that look like this: ;!s0 (Japanese text)/!s0` (English text) `/ In this case, I believe that!s0 indicates some sort of effect on the screen. The problem is that it is in the script file as part of the actual text. This type of thing created problems for me, because when it appeared, it appeared before the ` character, which in all other cases is what allowed me to determine if a line contained English text. To get rid of this issue, I opened the script file in WordPad and used the replace all function to remove all instances of!s0 and other similarly formatted interfering bits of code. The last thing that my initial program made me realize is that the program would produce a lot of errors unless there was a blank line in between each line of text in the file, so I created a smaller program which opened the script file and went through it line by line, writing each line into a new output text file with an additional line break between each line. The output of this program was used as the input for my final program, which was made to account for my initial mistakes and my further discoveries. The program worked primarily through the use of a custom method which I made to check the content of a line based on its opening characters, determining if it contained Japanese text, English text, the name of the speaking character, or anything else. The program used a BufferedReader to open the script file and read it line by line. The program read lines until it found either Japanese text or a character name if the former, the text was narrated, and if the latter, the following text was attributed to the relevant character. Then the program read more lines, finding Japanese lines and concatenating them together until an English line was found, at which point the program read more lines and concatenated all English lines found until either more Japanese text or a character name was found, indicating that all necessary information English and Japanese lines, and the attributing character or the narrator for that portion of text had been found. At this point an identification number was assigned and two BufferedWriters were used to write the extracted data to two output files, one for English and one for Japanese. The output files were formatted like this: ID Character name/narrator Text The program repeated this cycle until every line in the file had been examined. I sent the file with the English text to Cathy Blake, who worked with Craig Evans to process the data separating it into sentences and running those sentences through the Stanford English Parser. The initial processed data set, before analysis, consists of three tables: - matt320_nwd: The normalized word table, containing each word used in the data set, along with speaker information and ID values linking the word to its place in the text - matt320_sent: The table containing each sentence used in the data set, along with speaker information and identifying information - matt320_stan: The table containing the dependencies for each term in each sentence, resulting from the Stanford English Parser, also containing speaker information and identifying information From these tables, the text can be viewed at three different levels of dissolution. First, words can be examined by themselves. Secondly, sentences can be examined. Lastly, as mentioned before, there are times when the game displays multiple sentences spoken by a single character at once. The text can also be viewed by examining these groups of one or more sentences, which I will refer to henceforth as blocks. For the most part, the analysis that I performed was at the block level, because I feel that sentiment analysis techniques benefit from looking at larger amounts of text at once than a single sentence

4 3. SENTIMENT ANALYSIS METHODS To perform sentiment analysis on this data, I used Bing Liu's Opinion Lexicon[1], which consists of two lists of words: one associated with positive sentiment and one associated with negative sentiment 2. I created one table in SQLDeveloper for each list. In SQLdeveloper, each word in the normalized word table from the text was linked to the opinion lexicon tables. Where a match was found, the word was assigned pvalue of 1 if the matched word was from the positive lexicon or nvalue 1 if the matched word was from the negative lexicon. I then connected the words back to their originating blocks. The pvalues and nvalues were summed for each block, giving each block a psum equal to the number of positive sentiment words within, and an num equal to the number of negative sentiment words within. I also calculated two other values: the total number of sentiment words, positive and negative, in the block (referred to as absvalue) and the number of negative words in the block subtracted from the number of positive words in the block, which represents the overall sentiment of the block based on whether the number is positive or negative (referred to as totalvalue). The table BLOCKVALS2 in my results contained the identifying information for each block, speaker information, and the psum, nsum, absvalue and totalvalue statistics for each block. BLOCKVALS2 was the table I used to determine the overall tone of the text and the speaking styles of the characters. I then joined BLOCKVALS2 with the original matt320_sent table from the dataset in order to connect these values to the actual sentence content from the text. This table I called BLOCKVALS3, and it was the table I used to determine the relationships between characters and how they were portrayed by the narrative. (Note: From this point onward, the report may contain spoilers for the plot of Umineko. Be warned!) 4. ANALYSIS AND RESULTS 4.1 Overall Tone of the Text Table 1. Overall Tone of the Text In the 7,336 blocks of text, there were a total of 4,967 words associated with positive sentiment and 5,001 words associated with negative sentiment: a total of 9,968 sentiment words, with a very slight overall negative sentiment of only -34. Each block contains an average of 1.36 sentiment words and has an average overall sentiment value of only This makes it seem like there is no real preference for positive sentiment over negative sentiment or vice versa in the text. While this represents the final tally, a more interesting approach is to break the text up into smaller pieces to see if the tone of the text changes as the story progresses. As the ID values of the blocks were incremented as my preprocessing program read through the script, these ID values can be used to break the story into chunks. As a basic test of how the tone of the story changed as the story progressed, I decided to break the blocks into three chunks based on ID value: one chunk for the first third of the story (the beginning ), one chunk for the second third of the story (the middle ) and one for the final third of the story (the end ). Table 2. Results for First Third of Text (Beginning) sentiment words per block, 0.18 total value per block Table 3. Results for Second Third of Text (Middle) sentiment words per block, total value per block Table 4. Results for Final Third of Text (End) sentiment words per block, total value per block By breaking the text roughly into beginning, middle and end, we see that the text begins with more positive sentiment and that negative sentiment becomes more and more prevalent as the story progresses. Additionally, the amount of sentiment words used is about 15% lower in the middle portion of the text. If you think about the basic plot of the game, and about story arcs in general, this distribution of sentiment values seems to make sense. Umineko is a murder mystery. More and more people are killed as the story progresses you would expect negative sentiment words to be used more frequently as this happens. What's more, the mystery is not resolved at the end this is only the first of eight chapters of the larger storyline, and so there is no upswing in positive sentiment words at the end from conflicts being resolved and a happy ending. The general positive sentiment at the beginning also makes sense. The setting for the story is a family gathering, something which tends to be associated with positive feelings. While there is tension within the family, the main character, Battler, spends most of his time with his cousins, with whom he has a very friendly relationship. The generally neutral sentiment of the middle portion of the story could be due to the transition from the positive beginning to the negative end, but the middle is also notable for having significantly fewer sentiment words in general. I am not sure why this would be from a plot perspective, but I would guess that this has to do with narrative conventions in general: the strongest emotional language would be used at the beginning of the story (the exposition) and at the end of the story (the climax), while the middle of the story (the buildup) would have the least. While I feel like this three-section breakdown does show the major trends of sentiment throughout the story, I feel like there are other methods that I could use in the future to expand on this analysis. In particular, I would want to go back to the initial data and see if I could use the cues in the coding of the game in order to determine scene breaks in this way, it would be possible to look at sentiment on the level of individual scenes of the story. This would likely be a much more precise method, if possible. I believe that scene breaks could be roughly determined by finding the pieces of code that cause the background art to change.

5 4.2 Speaking Styles of Characters I attempted to see if individual characters differed in their use of sentiment words, both in terms of number of sentiment words used as well as the balance of positive vs. negative words used. In essence, these calculations are the same as the calculations for determining the overall tone of the text, except that the results were grouped by character rather than being broken up by story progression. The narrative perspective is also included for comparison. I exported the results table SPEAKINGSTYLES to an Excel spreadsheet in order to calculate the Z-scores to determine statistical significance. The results did show that different characters tend to use different amounts of sentiment words, and that they favor different total sentiment values. Sentiment words used per block ranged from 0.68 (Genji) to 3.45 (Beatrice), while average sentiment value per block ranged from (Bernkastel) to 0.50 (Gohda). Table 5: Sentiment Words Used per Block by Character Z-score Name Words / Block (Words/Block) Beatrice Kinzo Krauss Bernkastel Eva Battler Kyrie Jessica Rudolf Hideyoshi George Narrator Nanjo Gohda Natsuhi Shannon Rosa Kumasawa Maria Kanon Genji Mean: 1.52 Std. Dev: In general, it seems that the number of sentiment words used is related to social status. The five characters with the highest usage of sentiment words are the supernatural witch characters, the family head, and the two eldest children of the family head, while all of the servant characters (Gohda, Shannon, Kumasawa, Kanon and Genji) use fewer sentiment words than the narrative perspective does. However, despite these trends, almost all of these differences are not statistically significant, assuming a normal distribution: only a Z-score greater than 1.96 or less than would be statistically significant in a 95% confidence interval. The only character who fits that is Beatrice, with a Z- score of 3.05 meaning that Beatrice's usage of sentiment words is significantly higher than that of the rest of the characters. The connection between social status and sentiment value is much less clear, apart from the witch characters (Beatrice and Bernkastel) who use far more negative sentiment words. Interestingly, though, most of the characters have a net positive sentiment value meaning that most of the negative sentiment in the text comes from the narrative perspective. Battler, our main character, is pretty much exactly neutral in terms of overall sentiment. In this case, the only characters whose usage of sentiment is statistically significant are the witches Beatrice and Bernkastel, whose Z-scores of and are statistically significant at a 95% confidence level. These characters both use significantly more negative sentiment words than the rest of the cast. Table 6: Sentiment Value per Block by Character Name Value / Block Z -score (Value/Block) Gohda Rosa Eva Hideyoshi Rudolf George Krauss Maria Kyrie Genji Shannon Kumasawa Kinzo Jessica Battler Nanjo Kanon Narrator Natsuhi Beatrice Bernkastel Mean: 0.06 Std. Dev: While it seems like there are some social-class related patterns in regards to sentiment word usage, the main result of this analysis is that the characters who are witches have a statistically significantly different speaking style in terms of sentiment usage than the characters who are not witches. This is not particularly surprising: one of the main themes of the story is Does magic exist, and were the murders committed by magic? Because of the ambiguity of even their existence, the witch characters do not actually interact with most of the characters directly (at least, during this chapter of the story). Beatrice is talked about by many characters, but the only character she directly interacts with is Battler. Bernkastel, on the other hand, is a mysterious figure her name isn't even referenced in this portion of the story who only briefly appears at the end, providing a monologue that hints at what will happen in future chapters.

6 It is possible that the statistical difference in speaking style between these two characters and the rest is related to specific words in Bing Liu's opinion lexicon. Moving forward, if I were to extend this analysis, I would want to spend time creating my own lexicon of positive and negative sentiment words based off of words used in fiction (or even specifically in this text), as Bing Liu's lexicon, while extremely helpful, was created to be general. 4.3 Relationships between Characters I attempted to determine relationships between characters by evaluating the sentiment values in blocks spoken by one character while referencing another character's name directly. Since I had to manually do this for each one-to-one character relationship, and because the characters have different amounts of lines, I chose to do this for the lines spoken by Battler (the main character) and the five other characters with the highest number of spoken lines (Maria, George, Jessica, Natsuhi, and Eva). I chose not to include Bernkastel when looking at relationships because, as mentioned earlier, Bernkastel is never mentioned by name and doesn't actually directly interact with any other characters in this portion of the story. For each relationship, I counted the total number of sentiment words used in relevant blocks, the total sentiment value of relevant blocks, and the percent of a character's spoken blocks that contained a reference to the related character. Relationships with a high value for this final field would imply that the characters interact strongly with each other. This method has more issues than any of the others I tested. Partially this is because there is less data available, since many of the lines spoken by characters do not directly reference names of other characters. The biggest problem, though, is that some characters refer to each other in ways that do not directly involve the other person's name this is most obviously an issue where characters refer to their parents as mother, father or something similar. In order to determine these relationships, I would have to determine all of the terms the characters use to describe each other. If I were to expand on this study, name resolution is one of the areas I would focus on, though it would probably have to be done somewhat manually. Regardless of these issues, the results are interesting and seem to be accurate in at least some cases. For example, the top relationship is between Maria and Beatrice. Within the story, Maria is obsessed with and idolizes Beatrice, so the prominence of this relationship makes perfect sense. What was somewhat surprising, however, is that all of the top 5 relationships involve Maria in some way. Additionally, the only characters that show up in the top relationships other than the ones with the most lines are Beatrice, Genji and Shannon. I think that this shows that this method focuses preferentially on characters with strong impact on the story as opposed to characters who may have strong relationships with each other but who do not interact much within the text. Why is it that Maria would receive such focus? Well, one thing to note is Maria's role within the story. Battler, the main character, tends to stick around with the youngest generation of his family his cousins George, Jessica, and Maria. Between the four of them, Maria is by far the youngest, at eight years of age, while the others are all in their late teens or early twenties. While Maria may not have a central role in the action that occurs, she may just be the focal point of the social environment within the text, both as someone to be protected and as someone who seems to have a strong link to the supernatural events that are occurring, given her obsession with Beatrice. Table 7: Top 20 Relationships by Percent of Blocks Containing Name speaker reference words/block value/block % of blocks Maria Beatrice % George Maria % Battler Maria % Jessica Maria % Maria Battler % George Battler % Eva Natsuhi % Jessica Battler % Natsuhi Genji % Battler Beatrice % Natsuhi Jessica % Jessica Beatrice % Jessica George % George Beatrice % George Shannon % Eva Battler % Eva George % Battler Jessica % Eva Genji % Natsuhi Eva % While it is difficult to meaningfully interpret these results from a numerical standpoint, I do feel like they prove the analytical worth of this method. At the very least, they caused me to think about Maria's role within the story from a different direction. 4.4 Portrayal of Character by the Narrative To determine how characters are portrayed by the narrative, I looked at lines spoken from the narrative perspective that contain references to the names of the characters. In essence, it is very similar to the calculations for the relationships between characters. There was more data here, because the narrative perspective has far more associated blocks than any of the characters do. Additionally, this method does not have the issue of referring to characters by something other than their name, because the narrative perspective does not use nicknames. Table 8: Portrayal of Characters in the Narrative, by Percent of Blocks Referenced Character Words/Block Value/Block % of Blocks Maria % Natsuhi % Kanon % Jessica % Eva % Kinzo % Genji % George % Shannon % Beatrice % Hideyoshi % Krauss % Kumasawa % Battler % Rosa % Nanjo % Gohda % Kyrie % Rudolf %

7 Once again, Maria's prominence in the text is highlighted, as she is referenced in almost 8% of the blocks of narrative text. However, this method highlights a different selection of characters than the inter-character relationships: characters like George and Battler in particular receive less attention from the narrative than Kanon and Kinzo who have far fewer lines. Battler being so low on the list is particularly surprising, as he is the main protagonist. Another interesting result is that the character who receives the highest amount of positive sentiment in the narrative is Beatrice, the mysterious witch and presumed antagonist. The only other characters who receive positive sentiment on average are Kinzo, Genji, Gohda and Kyrie... most of whom die or disappear early on in the story. Remember that the overall tone of the text gets more and more negative as the story progresses since this is the case, a character's portrayal in the narrative will get more and more negative the longer they survive, just due to the shifting tone of the story. Another way of thinking about this is that, in general, the characters who have the most positive portrayal in the story are actually the initial murder victims! Once again, there are a lot of ways that I feel like I could improve on this method were I to expand on this study. In particular, I would like to find a way to balance out the effect of the shifting tone of the narrative in order to get a more accurate read on how specific characters are portrayed. If I am able to separate the text into scenes, I could perhaps examine how characters are portrayed on a scene-by-scene basis, which I think would be very interesting. 5. DISCUSSION AND CONCLUSIONS I think that the results show that there is useful information to be gained from using these methods, but there are a lot of caveats the biggest of which is that these methods are not contextsensitive. Though we can find where sentiment words are used in the narrative, we cannot determine why they were used. In that sense, it is difficult to form solid conclusions based on these methods alone a solid understanding of the text is necessary to help interpret the results. Additionally, for inter-character relationships and narrative portrayal, I think that the results are very much biased by the genre of the text used I would expect the results to be easier to interpret in a romance text rather than a murder mystery. In a novel that is entirely about relationships, there will be less unrelated information muddying the results. Despite all of the issues, I feel like my personal understanding of Umineko no Naku Koro Ni has been enhanced by this process. In particular, I feel like I should re-examine the text with a deeper focus on Maria in particular. Beatrice was also highlighted as a standout by all four of the analyses performed, which was less of a surprise, as she plays a central role in the events of the story and interacts closely with Battler, the main character. The initial goal of this project was to see if sentiment analysis could provide useful tools for analyzing fiction. I believe this, I have succeeded. While these methods are rough and could use refining, either on the Umineko dataset or on another one, the results seemed plausible and thought-provoking. In the end, the point of reading fiction is for enjoyment literary analysis, in my mind, is a way to have fun by thinking about fiction. These applications of sentiment analysis will not replace traditional literary criticism by any means. Instead, I like to think of these methods as tools that someone well-versed in a work can use in order to find new information and new perspectives. 6. ACKNOWLEDGMENTS Thanks to Cathy Blake and Craig Evans, who helped with the processing of my data and with writing my preprocessing programs in Fall Additional thanks to the team at The Witch Hunt, whose efforts I have to thank for the existence of this fan translation and more. 7. REFERENCES [1] Minqing Hu and Bing Liu. "Mining and Summarizing Customer Reviews." Proceedings of the ACM SIGKDD International Conference on Knowledge Discovery and Data Mining (KDD-2004), Aug 22-25, 2004, Seattle, Washington, USA. [2] The Witch Hunt. Retrieved May 11, 2014 from